"Quinconce" for cello and computer sounds
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25 Romanian Carols from Bartok's folk music collections for orchestra
Hello friends !
I would like to share with you, a small part of the huge inheritance of folk music collection realized by Bela Bartok.
As you certainly know, this immense figure of the XX century’s music, Hungarian composer born on Romanian territory, was equally one of the greatest musical anthropologists of all times. He was not only an assiduous collector of folklore but he had changed the very paradigm itself, of the musical anthropology, as well by means of the the methodology he employed and the unattainable accuracy of his transcriptions.
The reason of this Sisyphean work can only be explained by the fact that Bartok saw in the folk music a genuine source of inspiration, renovation and originality for his own art, his « egoism » as a creator fully dedicated to his art explaining the energy and unique dedication he spent as a folk music collector.
From the huge Bartok’s folk music collections and transcriptions – completed by deep and extensive comments on the phenomenon - around three quarters have as subject the Romanian music from Transylvania : 50000 collected melodies . The 5000 published and reviewed until the last days of his short live, revealed to the public knowledge a fascinating musical universe, of an yet unsuspected melodic and rhythmic richness.
His collecting methods where revolutionary, always looking for the unalterableness of the source in his natural habitat. And the way he transcribed in European notation , with an impossible minutia, revealed infinitesimal and delicious details in rhythm and melody.
As you certainly know, Bartok himself harmonized some of those collected materials, though proportionally scarcely compared with the extension of the collections.
On the other hand, when traversing those collections, we can see that his entire musical universe is immersing in a sonorous world which is so often Transylvanian and Romanian.
Among the most brilliant examples for the promotion of this Bartokian endeavour I will only remember the subtle and virtuoso violinist Sherban Lupu. He dedicated his energies in a brilliant way , few years ago, and identified every collected melody among those Bartok used in the Second Rhapsody for violin and orchestra. Then, he exemplified on the classical violin, aside the very text of the Rhapsody, the sources from the respective collections, with the indications, tempo, and all the details as provided in Bartok’s transcriptions.
The task, Lupu confessed, was of a draconian technical difficulty , due to the complexity of scordaturas, the speed, the intonations, the rhythmical irregularities, all fully scored by Bartok with a phonographic precision. The mimicry of the peasant spontaneous art seemed, therefore, hard to be reproduced by a classical musician !
On my side, being fascinated since my studentship by Bartok’s folk music collections, I made the commitment – without any connection with my work as a composer – to bring to public light those collection which make the delight of the anthropologists and specialized scholars, but remained yet unknown to the music lovers.
I chose Batok’s own solution : I first operated a choice among melodies, then I organized the material into an instrumental suite. I harmonized and orchestrated it, reshaped it in a « composition », in a style appropriate with the given material, which I preserved as much unaltered as possible. The resulting style is sometimes near Bartok’s own language, sometimes, because of the material, more alike Enescu’s or Stravinsky’s depending on the circumstances and needs.
The result was therefore Two different suites, arranged for different ensembles :
A suite of 10 melodies arranged in 7 movements, for string soloist ( violin, viola or cello) and piano, and for piano soloist. The suite is also available for string soloist and orchestra ( chamber orchestra or string orchestra) . A version of this score equall
"Swarms" for string quartet
1. The document discusses heterophonic string formations that iterate from a central point of unity to maximum difference and back again in a circular evolution of order to chaos to order.
2. It provides notation for various string techniques involving density, harmonics, inharmonics, vibrato, glissando, and special effects like ricochet and trepidando verticale.
3. Formulas using these techniques are inserted into squares with numbers and connected by lines, and are meant to be played freely in an improvisatory manner to systematically explore timbre, texture, and sound effects.
"Lux Animae" for ensemble and computer sounds
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help alleviate symptoms of mental illness and boost overall mental well-being.
7 romanian folksongs for violin and piano
Hello friends !
I would like to share with you, a small part of the huge inheritance of folk music collection realized by Bela Bartok.
As you certainly know, this immense figure of the XX century’s music, Hungarian composer born on Romanian territory, was equally one of the greatest musical anthropologists of all times. He was not only an assiduous collector of folklore but he had changed the very paradigm itself, of the musical anthropology, as well by means of the the methodology he employed and the unattainable accuracy of his transcriptions.
The reason of this Sisyphean work can only be explained by the fact that Bartok saw in the folk music a genuine source of inspiration, renovation and originality for his own art, his « egoism » as a creator fully dedicated to his art explaining the energy and unique dedication he spent as a folk music collector.
From the huge Bartok’s folk music collections and transcriptions – completed by deep and extensive comments on the phenomenon - around three quarters have as subject the Romanian music from Transylvania : 50000 collected melodies . The 5000 published and reviewed until the last days of his short live, revealed to the public knowledge a fascinating musical universe, of an yet unsuspected melodic and rhythmic richness.
His collecting methods where revolutionary, always looking for the unalterableness of the source in his natural habitat. And the way he transcribed in European notation , with an impossible minutia, revealed infinitesimal and delicious details in rhythm and melody.
As you certainly know, Bartok himself harmonized some of those collected materials, though proportionally scarcely compared with the extension of the collections.
On the other hand, when traversing those collections, we can see that his entire musical universe is immersing in a sonorous world which is so often Transylvanian and Romanian.
Among the most brilliant examples for the promotion of this Bartokian endeavour I will only remember the subtle and virtuoso violinist Sherban Lupu. He dedicated his energies in a brilliant way , few years ago, and identified every collected melody among those Bartok used in the Second Rhapsody for violin and orchestra. Then, he exemplified on the classical violin, aside the very text of the Rhapsody, the sources from the respective collections, with the indications, tempo, and all the details as provided in Bartok’s transcriptions.
The task, Lupu confessed, was of a draconian technical difficulty , due to the complexity of scordaturas, the speed, the intonations, the rhythmical irregularities, all fully scored by Bartok with a phonographic precision. The mimicry of the peasant spontaneous art seemed, therefore, hard to be reproduced by a classical musician !
On my side, being fascinated since my studentship by Bartok’s folk music collections, I made the commitment – without any connection with my work as a composer – to bring to public light those collection which make the delight of the anthropologists and specialized scholars, but remained yet unknown to the music lovers.
I chose Batok’s own solution : I first operated a choice among melodies, then I organized the material into an instrumental suite. I harmonized and orchestrated it, reshaped it in a « composition », in a style appropriate with the given material, which I preserved as much unaltered as possible. The resulting style is sometimes near Bartok’s own language, sometimes, because of the material, more alike Enescu’s or Stravinsky’s depending on the circumstances and needs.
The result was therefore Two different suites, arranged for different ensembles :
A suite of 10 melodies arranged in 7 movements, for string soloist ( violin, viola or cello) and piano, and for piano soloist. The suite is also available for string soloist and orchestra ( chamber orchestra or string orchestra) . A version of this score equally e
7 romanian folksons for string quartet
Hello friends !
I would like to share with you, a small part of the huge inheritance of folk music collection realized by Bela Bartok.
As you certainly know, this immense figure of the XX century’s music, Hungarian composer born on Romanian territory, was equally one of the greatest musical anthropologists of all times. He was not only an assiduous collector of folklore but he had changed the very paradigm itself, of the musical anthropology, as well by means of the the methodology he employed and the unattainable accuracy of his transcriptions.
The reason of this Sisyphean work can only be explained by the fact that Bartok saw in the folk music a genuine source of inspiration, renovation and originality for his own art, his « egoism » as a creator fully dedicated to his art explaining the energy and unique dedication he spent as a folk music collector.
From the huge Bartok’s folk music collections and transcriptions – completed by deep and extensive comments on the phenomenon - around three quarters have as subject the Romanian music from Transylvania : 50000 collected melodies . The 5000 published and reviewed until the last days of his short live, revealed to the public knowledge a fascinating musical universe, of an yet unsuspected melodic and rhythmic richness.
His collecting methods where revolutionary, always looking for the unalterableness of the source in his natural habitat. And the way he transcribed in European notation , with an impossible minutia, revealed infinitesimal and delicious details in rhythm and melody.
As you certainly know, Bartok himself harmonized some of those collected materials, though proportionally scarcely compared with the extension of the collections.
On the other hand, when traversing those collections, we can see that his entire musical universe is immersing in a sonorous world which is so often Transylvanian and Romanian.
Among the most brilliant examples for the promotion of this Bartokian endeavour I will only remember the subtle and virtuoso violinist Sherban Lupu. He dedicated his energies in a brilliant way , few years ago, and identified every collected melody among those Bartok used in the Second Rhapsody for violin and orchestra. Then, he exemplified on the classical violin, aside the very text of the Rhapsody, the sources from the respective collections, with the indications, tempo, and all the details as provided in Bartok’s transcriptions.
The task, Lupu confessed, was of a draconian technical difficulty , due to the complexity of scordaturas, the speed, the intonations, the rhythmical irregularities, all fully scored by Bartok with a phonographic precision. The mimicry of the peasant spontaneous art seemed, therefore, hard to be reproduced by a classical musician !
On my side, being fascinated since my studentship by Bartok’s folk music collections, I made the commitment – without any connection with my work as a composer – to bring to public light those collection which make the delight of the anthropologists and specialized scholars, but remained yet unknown to the music lovers.
I chose Batok’s own solution : I first operated a choice among melodies, then I organized the material into an instrumental suite. I harmonized and orchestrated it, reshaped it in a « composition », in a style appropriate with the given material, which I preserved as much unaltered as possible. The resulting style is sometimes near Bartok’s own language, sometimes, because of the material, more alike Enescu’s or Stravinsky’s depending on the circumstances and needs.
The result was therefore Two different suites, arranged for different ensembles :
A suite of 10 melodies arranged in 7 movements, for string soloist ( violin, viola or cello) and piano, and for piano soloist. The suite is also available for string soloist and orchestra ( chamber orchestra or string orchestra) . A version of this score equall
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25 Romanian Carols from Bartok's folk music collections for orchestra
Hello friends !
I would like to share with you, a small part of the huge inheritance of folk music collection realized by Bela Bartok.
As you certainly know, this immense figure of the XX century’s music, Hungarian composer born on Romanian territory, was equally one of the greatest musical anthropologists of all times. He was not only an assiduous collector of folklore but he had changed the very paradigm itself, of the musical anthropology, as well by means of the the methodology he employed and the unattainable accuracy of his transcriptions.
The reason of this Sisyphean work can only be explained by the fact that Bartok saw in the folk music a genuine source of inspiration, renovation and originality for his own art, his « egoism » as a creator fully dedicated to his art explaining the energy and unique dedication he spent as a folk music collector.
From the huge Bartok’s folk music collections and transcriptions – completed by deep and extensive comments on the phenomenon - around three quarters have as subject the Romanian music from Transylvania : 50000 collected melodies . The 5000 published and reviewed until the last days of his short live, revealed to the public knowledge a fascinating musical universe, of an yet unsuspected melodic and rhythmic richness.
His collecting methods where revolutionary, always looking for the unalterableness of the source in his natural habitat. And the way he transcribed in European notation , with an impossible minutia, revealed infinitesimal and delicious details in rhythm and melody.
As you certainly know, Bartok himself harmonized some of those collected materials, though proportionally scarcely compared with the extension of the collections.
On the other hand, when traversing those collections, we can see that his entire musical universe is immersing in a sonorous world which is so often Transylvanian and Romanian.
Among the most brilliant examples for the promotion of this Bartokian endeavour I will only remember the subtle and virtuoso violinist Sherban Lupu. He dedicated his energies in a brilliant way , few years ago, and identified every collected melody among those Bartok used in the Second Rhapsody for violin and orchestra. Then, he exemplified on the classical violin, aside the very text of the Rhapsody, the sources from the respective collections, with the indications, tempo, and all the details as provided in Bartok’s transcriptions.
The task, Lupu confessed, was of a draconian technical difficulty , due to the complexity of scordaturas, the speed, the intonations, the rhythmical irregularities, all fully scored by Bartok with a phonographic precision. The mimicry of the peasant spontaneous art seemed, therefore, hard to be reproduced by a classical musician !
On my side, being fascinated since my studentship by Bartok’s folk music collections, I made the commitment – without any connection with my work as a composer – to bring to public light those collection which make the delight of the anthropologists and specialized scholars, but remained yet unknown to the music lovers.
I chose Batok’s own solution : I first operated a choice among melodies, then I organized the material into an instrumental suite. I harmonized and orchestrated it, reshaped it in a « composition », in a style appropriate with the given material, which I preserved as much unaltered as possible. The resulting style is sometimes near Bartok’s own language, sometimes, because of the material, more alike Enescu’s or Stravinsky’s depending on the circumstances and needs.
The result was therefore Two different suites, arranged for different ensembles :
A suite of 10 melodies arranged in 7 movements, for string soloist ( violin, viola or cello) and piano, and for piano soloist. The suite is also available for string soloist and orchestra ( chamber orchestra or string orchestra) . A version of this score equall
"Swarms" for string quartet
1. The document discusses heterophonic string formations that iterate from a central point of unity to maximum difference and back again in a circular evolution of order to chaos to order.
2. It provides notation for various string techniques involving density, harmonics, inharmonics, vibrato, glissando, and special effects like ricochet and trepidando verticale.
3. Formulas using these techniques are inserted into squares with numbers and connected by lines, and are meant to be played freely in an improvisatory manner to systematically explore timbre, texture, and sound effects.
"Lux Animae" for ensemble and computer sounds
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help alleviate symptoms of mental illness and boost overall mental well-being.
7 romanian folksongs for violin and piano
Hello friends !
I would like to share with you, a small part of the huge inheritance of folk music collection realized by Bela Bartok.
As you certainly know, this immense figure of the XX century’s music, Hungarian composer born on Romanian territory, was equally one of the greatest musical anthropologists of all times. He was not only an assiduous collector of folklore but he had changed the very paradigm itself, of the musical anthropology, as well by means of the the methodology he employed and the unattainable accuracy of his transcriptions.
The reason of this Sisyphean work can only be explained by the fact that Bartok saw in the folk music a genuine source of inspiration, renovation and originality for his own art, his « egoism » as a creator fully dedicated to his art explaining the energy and unique dedication he spent as a folk music collector.
From the huge Bartok’s folk music collections and transcriptions – completed by deep and extensive comments on the phenomenon - around three quarters have as subject the Romanian music from Transylvania : 50000 collected melodies . The 5000 published and reviewed until the last days of his short live, revealed to the public knowledge a fascinating musical universe, of an yet unsuspected melodic and rhythmic richness.
His collecting methods where revolutionary, always looking for the unalterableness of the source in his natural habitat. And the way he transcribed in European notation , with an impossible minutia, revealed infinitesimal and delicious details in rhythm and melody.
As you certainly know, Bartok himself harmonized some of those collected materials, though proportionally scarcely compared with the extension of the collections.
On the other hand, when traversing those collections, we can see that his entire musical universe is immersing in a sonorous world which is so often Transylvanian and Romanian.
Among the most brilliant examples for the promotion of this Bartokian endeavour I will only remember the subtle and virtuoso violinist Sherban Lupu. He dedicated his energies in a brilliant way , few years ago, and identified every collected melody among those Bartok used in the Second Rhapsody for violin and orchestra. Then, he exemplified on the classical violin, aside the very text of the Rhapsody, the sources from the respective collections, with the indications, tempo, and all the details as provided in Bartok’s transcriptions.
The task, Lupu confessed, was of a draconian technical difficulty , due to the complexity of scordaturas, the speed, the intonations, the rhythmical irregularities, all fully scored by Bartok with a phonographic precision. The mimicry of the peasant spontaneous art seemed, therefore, hard to be reproduced by a classical musician !
On my side, being fascinated since my studentship by Bartok’s folk music collections, I made the commitment – without any connection with my work as a composer – to bring to public light those collection which make the delight of the anthropologists and specialized scholars, but remained yet unknown to the music lovers.
I chose Batok’s own solution : I first operated a choice among melodies, then I organized the material into an instrumental suite. I harmonized and orchestrated it, reshaped it in a « composition », in a style appropriate with the given material, which I preserved as much unaltered as possible. The resulting style is sometimes near Bartok’s own language, sometimes, because of the material, more alike Enescu’s or Stravinsky’s depending on the circumstances and needs.
The result was therefore Two different suites, arranged for different ensembles :
A suite of 10 melodies arranged in 7 movements, for string soloist ( violin, viola or cello) and piano, and for piano soloist. The suite is also available for string soloist and orchestra ( chamber orchestra or string orchestra) . A version of this score equally e
7 romanian folksons for string quartet
Hello friends !
I would like to share with you, a small part of the huge inheritance of folk music collection realized by Bela Bartok.
As you certainly know, this immense figure of the XX century’s music, Hungarian composer born on Romanian territory, was equally one of the greatest musical anthropologists of all times. He was not only an assiduous collector of folklore but he had changed the very paradigm itself, of the musical anthropology, as well by means of the the methodology he employed and the unattainable accuracy of his transcriptions.
The reason of this Sisyphean work can only be explained by the fact that Bartok saw in the folk music a genuine source of inspiration, renovation and originality for his own art, his « egoism » as a creator fully dedicated to his art explaining the energy and unique dedication he spent as a folk music collector.
From the huge Bartok’s folk music collections and transcriptions – completed by deep and extensive comments on the phenomenon - around three quarters have as subject the Romanian music from Transylvania : 50000 collected melodies . The 5000 published and reviewed until the last days of his short live, revealed to the public knowledge a fascinating musical universe, of an yet unsuspected melodic and rhythmic richness.
His collecting methods where revolutionary, always looking for the unalterableness of the source in his natural habitat. And the way he transcribed in European notation , with an impossible minutia, revealed infinitesimal and delicious details in rhythm and melody.
As you certainly know, Bartok himself harmonized some of those collected materials, though proportionally scarcely compared with the extension of the collections.
On the other hand, when traversing those collections, we can see that his entire musical universe is immersing in a sonorous world which is so often Transylvanian and Romanian.
Among the most brilliant examples for the promotion of this Bartokian endeavour I will only remember the subtle and virtuoso violinist Sherban Lupu. He dedicated his energies in a brilliant way , few years ago, and identified every collected melody among those Bartok used in the Second Rhapsody for violin and orchestra. Then, he exemplified on the classical violin, aside the very text of the Rhapsody, the sources from the respective collections, with the indications, tempo, and all the details as provided in Bartok’s transcriptions.
The task, Lupu confessed, was of a draconian technical difficulty , due to the complexity of scordaturas, the speed, the intonations, the rhythmical irregularities, all fully scored by Bartok with a phonographic precision. The mimicry of the peasant spontaneous art seemed, therefore, hard to be reproduced by a classical musician !
On my side, being fascinated since my studentship by Bartok’s folk music collections, I made the commitment – without any connection with my work as a composer – to bring to public light those collection which make the delight of the anthropologists and specialized scholars, but remained yet unknown to the music lovers.
I chose Batok’s own solution : I first operated a choice among melodies, then I organized the material into an instrumental suite. I harmonized and orchestrated it, reshaped it in a « composition », in a style appropriate with the given material, which I preserved as much unaltered as possible. The resulting style is sometimes near Bartok’s own language, sometimes, because of the material, more alike Enescu’s or Stravinsky’s depending on the circumstances and needs.
The result was therefore Two different suites, arranged for different ensembles :
A suite of 10 melodies arranged in 7 movements, for string soloist ( violin, viola or cello) and piano, and for piano soloist. The suite is also available for string soloist and orchestra ( chamber orchestra or string orchestra) . A version of this score equall
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Wound healing PPT
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UP
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
Temple of Asclepius in Thrace. Excavation results
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
clinical examination of hip joint (1).pdf
described clinical examination all orthopeadic conditions .
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বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
The History of Stoke Newington Street Names
Presented at the Stoke Newington Literary Festival on 9th June 2024
www.StokeNewingtonHistory.com
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